"I think one of the main reasons I picked Abattoir Blues and Lyre Of Orpheus was because, as a double album, you get more bang for your buck. Abattoir Blues has a more gospel feel to it, background vocals and big crescendos. Lyre Of Orpheus was generally a quieter record except for the title track, which is one of my favourites. I love the lyrics to that song. One awesome thing about Nick Cave is the darkness and the humour in his stuff. On Abattoir Blues, I love 'There She Goes, My Beautiful World', 'Hiding All Away' and 'Nature Boy'. Just good tunes man. At this point you can hear the Warren Ellis influence. I've always been a Nick Cave fan, since The Birthday Party. My roommate at the time, Charles Peterson [Sub Pop photographer], had a copy of Prayers On Fire and I've been listening to and following Nick Cave ever since then. First time I got to see him he didn't play Seattle, so me and my friends drove three hours north to Vancouver and that was on the First Born Is Dead tour. My favourite ever Nick Cave lyric was going way back to 'Deep In The Woods' [from Mutiny/The Bad Seed] - where it ends with the line, "Tonight we sleep in separate ditches"; that always cracks me up. 20,000 Days On Earth was the best music documentary I've ever seen. It didn't follow the normal " and then he did this and then he did that" of those Behind The Music narratives, it was a surreal and cool peak in to Cave's world. Something I learned about him that I didn't know already is that he likes to eat pizza in front of the TV!"

"As if Dallas needed another reason to be avoided. One of the scariest movies ever made, this is the story that drained the quirky from the bodies of Errol Morris’s two previous films. With the Rashomon-like changing re-creations, the doomy circularity of Philip Glass’s score, the dead-wrong psychologizing of the Dallas detectives, and some of the greatest dialogue ever not written for film, The Thin Blue Line builds a sense of impending dread better than the clicking incline of a dilapidated roller coaster. It illustrates how comprehensively police can be blinded by the avenging desire of an enraged community. The contrast between personalities is pronounced. Even from prison (for a different crime), David Harris can’t stop smiling. And Randall Dale Adams is incapable of a smile—his eyes wide, still unable to believe this isn’t a dream. But just like Adams’s attorney Edith James says, quoting the judge: “What do you care? He’s only a drifter."